The radical, audience-defying New Thing of the 1960s is now as old as traditional jazz was then, and many of its angry young pioneers have evolved, given up, calmed down or passed on. Yet Pharoah Sanders (born 1940), one of the era's most aggressive navigators, has continued to thrive, escaping the shadow of his early mentor John Coltrane to renew his music through space-jazz, blowtorch ballad-eering and the groove-based acid jazz that has endeared him to club kids and DJs.

Most of this, I confess, has escaped my attention. So it is just as well that this gig turns out to be something of a career retrospective.

The set begins slowly, freely, with long-term collaborator William Henderson strumming wide piano chords while drummer Joe Farnsworth rumbles around the kit with mallets. Then Sanders enters, playing with such staggering force and intensity that you want him to go on and on. The other guys sound a bit lost when he stops. You get the sense that there's a silent incantation shaping the turbulent waves of busy, modal, free-jazz gestures.

My Favourite Things opens with the familiar two-chord vamp of the Coltrane version, and Sanders, who plays tenor sax throughout the gig, gives the tune a robust pulse, branching into thrilling harmonics, split tones and occasional blasts of familiar freak-out gobbledegook. He ends this long, monumental performance with a repeat-echo coda, smiling mysteriously as sax key noises spin around the PA system.

Sanders also attempts Body and Soul, every tenor player's personal Everest, and storms into You've Got to Have Freedom, an anthem that gets the audience clapping and chanting. At one point, eyes closed, he entertains us with a curious, bent-knee version of the Twist, another enigmatic smile playing about his face. The final, Latin-inflected number, locked into Nat Reeves's deep acoustic bass riff, provides a fine, trance-like end to the set.

· Ends tonight. Box office: 08701-500 044.